3 weeks of BEOWULF remain

"BEAUTIFUL, POETIC, AND HAUNTING..."
-Theatrius

Photo: Lauren Matley

Photo: Lauren Matley

Think for a minute about what it would be like to have no light, only total darkness.
What a candle would mean to you…

BEOWULF: 
We expect this work to challenge... it is unlike any other We Players' production to date. We invite you to journey into strange new territory and to release expectation of the usual.

Immerse yourself in an abstract realm as we explore the story through a fractured lens and express the energies of the saga through movement and intense soundscape. 

It is a fever-dream of memory and forgetting, a ritual that will both include your participation and leave you suspended in the shadows...

BEOWULF has only 3 weeks left.
Join us before it’s too late!


The journey begins at sunset
at the SF Maritime Museum.
Thursday - Sunday, March 11 - April 16. 

Wrestle with humanity and monstrosity under the stunning expanse of the sky and in the warm embrace of our mead hall. 

On a tight budget?
Join the BEOWULF rush ticket mailing list. 

Flame and shadow

Think for a minute about what it would be like to have no light, total darkness
What the candle would mean to you…

In December I went to Iceland, largely in preparation for building BEOWULF.
And I read sagas and Icelandic lore...
I was struck by how many of the winter seasonal stories include mention of the preciousness of giving and receiving candles as gifts at this time of year.
To have your own candle was a big deal.
To have the power to light your own world.

We all have the power the light the world -  through the company we keep and the stories that we share.

Stories and storytelling can be a powerful light in the darkness, which we particularly need when times are... dark.

Our upcoming production of BEOWULF is a play for our times.
When demagogues are trying to define culture and the dominant story, we need to tell our stories ferociously to keep our truths alive.
We’re excited for the BEOWULF-inspired conversations our audiences will be having about heroes and monsters, kindness and cruelty, chaos and order, self and other, after walking out of the chapel, our mead hall.

We expect this work to challenge...it is unlike any other We Players' production to date. We invite you to journey into strange new territory and to release expectation of the usual. Immerse yourself in an abstract realm as we explore the story through a fractured lens and express the energetics of the saga through movement and intense soundscape. It is a fever-dream of memory and forgetting, a ritual that will both include your participation and leave you suspended in the shadows...

This entirely new work is inspired by the poem Beowulf, but not a direct re-telling. It is a truly multi-disciplinary collaboration built alongside the forces of the Rova saxophone quartet and inkBoat physical theatre and dance. 

The journey begins at the Maritime Museum at San Francisco Maritime National Historical Park. From there, we move along the northern waterfront, stopping at Black Point Battery - with it’s stunning views of the bay and the Golden Gate Bridge, before summiting the hill and entering the historic military chapel at Fort Mason. Once inside, we break bread and toast to our ancestors. Around our great table, we remember the fallen and recount tales of glory and of loss, of our hopes and our fears. We relive the events of the epic, moving in reverse chronology from the time of Beowulf's death. We open a Pandora's box of questions and leave them hanging in the darkness, for each of us to grapple with...


We hope you’ll join us.

It's Alive!

The monster is awake and the heroes are rising!
BEOWULF has opened!

Photo: Loe Matley

Photo: Loe Matley

Hear what our audiences are saying:

"BEOWULF is sensational. I have never experienced anything like it... We Players know how to offer a play experience like no other. Way beyond play... Beyond anything." -David 

"BEOWULF is stunning. Looking forward to seeing it again!" -Kathleen

"I really felt like we were collectively mourning for our country, mourning for our fallen humanity that has departed from nature, from instinct, from listening. The dynamic shifts that broke the meditative, ritualistic rhythms were like waking up from a dream, but into another dream --almost the nightmare of reality." -Adriana 

"I keep thinking of the ending procession image; the final preparation before facing the unknown." -Sabrina

Take the BEOWULF challenge. Join us!

The journey begins at sunset
at the SF Maritime Museum.
Thursday - Sunday, March 11 - April 16. 

Wrestle with humanity and monstrosity under the stunning expanse of the sky and in the warm embrace of our mead hall. 

On a tight budget?
Join the BEOWULF rush ticket mailing list.

BEOWULF Cast Spotlight: Larry Ochs

A killer saxophonist and all around great guy, Larry is another of Rova's founding members. We love collaborating with him; when you see his answers, we think you'll understand why!

 
 

Have there been any specific challenges or funny/interesting stories working outside and in the chapel for BEOWULF?

Larry:

  • Never have played before with a flagpole sticking to my back and the bay winds whipping around the flag on that pole, which is kind of knocking me to the left or right or backwards as I’m trying to focus on playing the music. 
  • One of the greatest perks of all time; walking in costume down towards the stairs to the bay and enjoying the view west to Golden Gate Bridge just before each show starts
  • Very much enjoying the exchange of sound between the two conch players, as there is what seems to be a long delay between Jon’s conch sound on land and the reply from Albert out in the bay.
  • Also digging the symphony of ambient sounds wafting around us as we perform outside. There is the challenge of hearing our cue at The Battery event to come wailing out of hiding. Ava plays this bell -  slowly- until the time we are to rise up; then quickly; that’s the cue.. But yesterday there was an off-shore bell that sounded exactly like our own, and discerning between the two amongst the recorded music from one direction and the fog horn from another, and the wind… yeah; a challenge but all of it in fun...
  • Except yesterday maybe, when some guy threw a bottle over the wall that i am hiding behind and playing. It smashed a good distance from me, but did make me a bit paranoid as he and his cohorts were just a bit inebriated, and thus seemed capable of sending more projectiles over the wall. Did not happen… all’s well that ends well.
  • The weather!  This we expected to be our big challenge, even renting an entire set of saxophones for the outdoor portion of the piece; obtaining ponchos to cover ourselves and the saxophones; having an entire set of alternate capes created for the outdoor shows in the rain which we could discard upon arrival at the chapel for the longer more intimate and intense  indoor part of the show. But somehow through all that rain in February we never got wet. And now the weather seems turned completely beautiful; spring is here... Knock wood!

Beowulf in four words?

Larry: SEISMOLOGIC VISITATIONS MOURNING MORNING

Share a favorite artistic experience- how did it impact you and affect your life and work afterwards?

Larry: There are so many...

  • Stumbling out of a Fugs’ concert in the East Village in summer 1966, rounding the corner and seeing a sign for John Coltrane at the Village Gate. walking in for the 2nd set and listening with an audience of maybe 2 dozen. Quite likely less. Never had experienced anything that intense in such a small space.
  • Stumbling out of my tent on Monday morning, early, to find with my ears that someone was still playing music, even though the festival- Woodstock- should have ended about midnight; some 7 hours before that. It was Hendrix, whom I had seen live before. But what he was doing that morning, the part I saw, was off the charts.
  • Art Ensemble of Chicago in Berkeley in 1973 or 74. By this time I was committed to the avant garde, and this concert confirmed that the direction I was headed was the right one for me. 
  • Diamanda Galas at Moers Jazz Festival 1981. Her debut in Europe. 5000- as in ‘five thousand’- wet audience members... it had been raining all weekend at this outdoor festival, but more and more people showed up each day anyway. You know: well known avant garde jazz groups played this festival. But on this Saturday afternoon, safe to say that almost no one familiar with Diamanda’s music was out there in the audience. She’s there to sing solo; no support onstage. And she has complicated tech; and it’s 1981, and she can’t explain how it works technically; her normal tech person was not flown in. The festival engineer comes up to me almost crying…”can you help? I don’t know what she wants, but whatever that is,  it’s not working.”
  • Diamanda standing resolutely behind her microphone in a raincoat adamantly shaking her head;  the concert does not start- for about an hour- and by then the audience is yelling at her to start; the engineer is throwing up his hands from the control booth situated out in the audience; and I know she’s about to ‘play’ something quite unlike the normal fare delivered… And yet, when she finally gets what she needs onstage,  she walks offstage, to more boos, and returns without the raincoat and DELIVERS. Solo, no help, for an hour. Completely wins over this hostile, miserably-wet crowd. A tour-de-force of performance power. Taught me some things I’ve never forgotten.
  • Hearing John Cage and David Tudor et al, creating music for the Merce Cunningham Dance Troupe. That first time stands out in a huge crowd of major concerts that set my mind off and helps me solve my own creative problems..

With Liberty and Justice For Some

Our good friend Monica Lundy’s co-curated show “With Liberty and Justice For Some” comes to SF this weekend! You can catch it through April 8th.


SFAC Galleries is excited to announce a new yearlong exhibition and public program series called Sanctuary City. The series delves into topics related to San Francisco’s immigration policies, immigrant and refugee populations, and the history of our Sanctuary City status. 

For this inaugural Sanctuary City presentation, SFAC Galleries is pleased to partner with Walter Maciel Gallery, Los Angeles, to bring their exhibition With Liberty and Justice for Some to San Francisco for a limited time. Co-curated by Bay Area artist Monica Lundy and gallerist Walter Maciel, this exhibition features over 125 portraits of immigrants to the United States by 100 artists from Los Angeles and the Bay Area. 

http://www.sfartscommission.org/gallery/2017/sanctuary-city-with-liberty-and-justice-for-some/

BEOWULF Cast Spotlight: Dana Iova-Koga

Dana has been dancing with inkBoat since 2006. She is currently learning a great deal from two masters of improvisation, aka her kids. Dana is honored to be collaborating with the forces of We Players and Rova Saxophone Quartet, who are among her heroes.
 


Have there been any specific challenges or funny/interesting stories working outside and in the chapel?

Dana: It’s been pretty problematic working outside in the Battery because of all of the beauty of the surroundings. I mean, how is one supposed to concentrate on rehearsal with views like that all around? The Golden Gate, the bay speckled with sail boats, the occasional moonrise paired with sunset, the passing hawk. Very distracting!

Why BEOWULF now?

Dana: As a culture we still seem to be interested in many of the major themes of the poem, namely good vs evil, and grappling with our own mortality. Particularly in the last few months many of us have been wrestling with the construct of duality, the notion of “us” against “them”. In Beowulf, the poem, the lines of distinction are very clear. Now, and in our production, the lines are not so clear.

Can you share a funny or memorable moment, anecdote, or quote from your experiences in creating BEOWULF?

Dana: This isn’t really an anecdote, but rather something I’ve really enjoyed about the process. I’ve so enjoyed witnessing how the musicians work. It’s as if they have their own language. Music is of course its own language, but then there is a whole other layer that is particular to these musicians and their collaborative process. They have have their own sign language system. They talk about “blorks”. I partly wish I knew their language and partly love that it’s magical and mysterious!

—-

Check back to learn more about our other collaborators, and catch Dana live in BEOWULF- join us for this sensational world premiere’s Opening Weekend, Saturday March 18 and Sunday March 19! The journey begins at sunset, at San Francisco Maritime National Historical Park.

Photos: Lauren Matley and Maria Chenut

BEOWULF Cast Spotlight: Steve Adams

We Players fans may remember Steve of Rova Saxophone Quartet from our 2015 production of HEROMONSTER. He's one of five musicians in our current production and we think he's just great! We caught up with Steve and asked him a few questions about the process. 

Check back to learn more about our other collaborators and see Steve live in our upcoming production of BEOWULF March 18-April 16

Photo: Lauren Matley

Photo: Lauren Matley

Describe your experience of  BEOWULF's collaborative process. How is it similar or different from past projects/ experiences?

Steve: Rova's last experience of being part of a theatrical production was for A.C.T.'s 1992 production of Antigone, directed by Carey Perloff and starring Elizabeth Peña and a young Wendell Pierce. The music was composed by David Lang of Bang on a Can. We were placed in black boxes at the two ends of the balcony, completely out of sight of the audience. So the experience was extremely different from Beowulf, where we are fully participating, onstage members of the production and co-creators of the music. This is a much more gratifying way to be part of the process, having (and receiving) creative input on all aspects of the play.

Share a favorite artistic experience: Why/ how did it impact you, affect your life, your work afterwards?

Steve: When I was in high school, my parents took me to several seasons of varied culture events, which included a production of Samuel Beckett's play Krapp's Last Tape. It was so far outside of my experience of, well, anything, that I think it made me aware of the possibilities of art that goes beyond the boundaries of what has come before, and that has been with me ever since then.

You can catch Steve (plus four other saxophone players!) in BEOWULF
Tickets on sale now! http://www.weplayers.org/beowulf-2017

Photo: Lauren Matley

Call for volunteers - Bring your light to BEOWULF

BEOWULF BACKSTAGE

Photo: Lauren Matley

Photo: Lauren Matley

We Players needs a few more hands in the mead-hall for BEOWULF!

Can you lend your light to our production? Volunteers can help us with food prep, and with audience and community wrangling. A good sense of hospitality is a plus!

BEOWULF takes place on the north end of San Francisco at Fort Mason Center for Arts and Culture, with weekend performances at sunset, Thursday through Sunday.
Shows start with preview performances on March 11 and the run lasts through April 16th. 

Volunteer shifts are just two hours long, and our helpers are welcome to stay and enjoy BEOWULF once a shift is done.

Join us in warming the hall for our guests!
Click here to learn more and sign up when you're ready.

 

 

 

 

Lighting Up The Night

Season Launch Party 2017! making the light brighter, together. 

We all have the power the light the world - through the company we keep and the stories that we share. Thank you Season Launch Party guests for sharing stories, community, art and adventure with We Players!

Romeo & Juliet at Montalvo Arts Center - Student Events

In partnership with Montalvo Art Center’s education program We performed four student matinees of our 2016 Capulet Ball (an interactive party that incorporated several scenes from the original text of Romeo and Juliet) for nearly 500 5th-12th graders from the greater San Jose area.

This was the first live performance experienced by many of these students. As in our full theater production, these young audiences were able to participate in the interactive elements of the show- to dance at the ball, to participate in the Capulet Family Ceremony, and to stand right next to Romeo as he spoke to Juliet from underneath her balcony. A talk-back with the cast and creative team followed in which students were able to learn more about the actors' processes in developing these characters , and about how we crafted our telling of the story specifically to the Montalvo grounds.

Today is Giving Tuesday!

Today, people across the nation
are giving to their favorite non-profits.
Please donate today to show your support for We Players!

With YOU as our ally, We Players transforms public spaces into stunning stages for multi-dimensional, full-sensory site-integrated theatre performances.

2016 was a banner year, with our Capulet Ball masquerades and an extended run of Romeo & Juliet in partnership with California State Parks and supported by the prestigious Montalvo Arts Center

Help us continue the momentum in 2017!

The new year starts in February with a special Season Launch Party
followed in March by the world-premiere of BEOWULF
at Aquatic Park and Fort Mason.

Join us this summer for live music concerts, including the
5th annual Canciones del Mar aboard the tall ship Balclutha.

Then, come summer (or fall), we’ll head into the forest together for a novel adaptation of A Midsummer Night's Dream.

We look forward to more great art together...
Please give generously today to We Players.

Join together, make great art,
give on Giving Tuesday

Artists of We: Monica Lundy's carborundum and intaglio prints

Once upon a time, long long ago, in the year 2011, We Players launched a gallery in the cell house on Alcatraz - a space still being used for visual art installations today! Monica Lundy's stunning portraits of the first female inmates at San Quentin (when that prison first opened it was co-ed) were featured in our first visual art exhibit in that fledgling gallery. We are so lucky to know Monica - we love her work, which has been shown at many galleries throughout the Bay Area over the years. Recently, Monica was invited to be the first international artist in residence at Stoney Road Press in Dublin, Ireland where she made a suite of prints with them.  Monica writes: "For this series, I decided to commence working on my upcoming, UK based project: portraits of Victorian era psychiatric patients from London based insane asylums."  She has just announced the arrival of a new suite of limited edition, fine art prints from that residency, and we are so excited to help spread the word! 

Monica at work

Monica at work

"I was in Ireland a little over 3 weeks, working every day, sometimes day and night. I worked with two printmaking methods: Carborundum printing and intaglio. The culmination of this process being a suite of 4 different original fine art prints, printed on hand made Indian paper.  The prints were based on photos I found while researching at archives in London last fall.  The portraits are of 19th century insane asylum patients from both West Riding Asylum and Bethlem Royal Hospital (one of the oldest and most infamous hospitals, also known as “Bedlam”). At long last, after months of working on these both in Dublin, followed by corresponding across continents to complete the fine-tuning of colors, the suite of 4 prints is complete. Each of the 4 different prints is in a limited edition of 25."  -  Monica Lundy

“Harriet”Gesso and Carborundum print on handmade Indian paper54 x 38 in. / 137 x 97 cm.Edition of 25

“Harriet”
Gesso and Carborundum print on handmade Indian paper
54 x 38 in. / 137 x 97 cm.
Edition of 25

“William”Gesso and Carborundum print on handmade Indian paper54 x 38 in. / 137 x 97 cm.Edition of 25

“William”
Gesso and Carborundum print on handmade Indian paper
54 x 38 in. / 137 x 97 cm.
Edition of 25

“Acute Melancholia”Intaglio print on handmade Indian paper30 x 22 in. / 76 x 56 cm.Edition of 25

“Acute Melancholia”
Intaglio print on handmade Indian paper
30 x 22 in. / 76 x 56 cm.
Edition of 25

“Consecutive Dementia”Intaglio print on handmade Indian paper30 x 22 in. / 76 x 56 cm.Edition of 25

“Consecutive Dementia”
Intaglio print on handmade Indian paper
30 x 22 in. / 76 x 56 cm.
Edition of 25

The prints have debuted in New York at IFPDA Print Fair, from there they will travel to fairs in Dublin, Miami, Los Angeles and Portland.

Want to see the work in person? Here's the where and when...

IFPDA Print Fair: New York,  Nov. 3-6, 2016   www.ifpda.org/content/print-fair  
VUE: Dublin, Nov. 3-6, 2016   www.vueartfair.ie

INK Art Fair : Miami, Nov. 30- Dec. 4, 2016   www.inkartfair.com
Portland Fine Print Fair: Portland, OR.  Jan. 27-29, 2017   http://portlandfineprintfair.com/
Los Angeles Fine Print Fair: Los Angeles, Feb.4-5, 2017   http://losangeles-fineprintfair.com/

For pricing or more information, you can contact Stoney Road Press at: 
email:  info@stoneyroadpress.com
website:  www.stoneyroadpress.com

Special for those of us here in the Bay Area - there are limited sets available through Nancy Toomey Fine Art. 
email:  nancy@nancytoomeyfineart.com
website:  www.nancytoomeyfineart.com

 

Congratulations Monica! With love from all of We! xx